deepbass5

Great to see these on sale here now, I bought mine from the states at great expence some years ago. but worth it, I can honestly say I will fit one or two of these to my next passive bass. Because they are made up from many different capacitors at each notch position you can really find the right tone for your pickup. hence I would like to try a tone/tone volume config rather than the usual vol/vol/tone

I have used passive Peavey's 12's and 15's for over 25 years no probs, but a year ago started using my sons RCF312 12" actives and found the vocal clarity to be noticable. We also only use PA for vocals + 3 x active monitors. They are not light speakers but better than a 15. But i would still consider a passive Peavey impulse 1012 system and seperate amp light and good components. note, not the cheaper PR series

Don't know if you guys caught this Bruno performance but this is the gig we should have been at last year watch it to the end http://youtu.be/F2i0Bc3f7jk

Thats sounds good. my input is - valve amp + input gain up like this http://youtu.be/b2qb2UTUtrI

I think this one goes some way to tie it to the bass but studio engineers love to play with their toys so has probably been tweeked beyond a single pedal http://youtu.be/GbGX1Sx0gvo

As said above Eden was the Pro gear of yesteryear. Good gear does not become less good over time, It is only the new kids on the block with fancy advertising budgets that convince us we are missing out on something. SWR also mentioned above, there is some good second hand gear around now. I remember when every touring bass player i saw was using Hartke - you weren't cool less you had ally cones. Buck the trend.

Strenght of signal is the key - so make sure your bass volume is well up and if needed take your amp input down instead, you will notice long notes will yodel as the signal strenght weakens and string vibration dies out. So best when playing 4 to the bar anything longer than a minim can be risky. I also have a compressor in front which can help.

We change each set, usually start in DJ's then to different coloured shirts, or all black. I think it is important to look like a band even if you don't sound like you're together

Is the main problem the venue hire cost or profit being sought by the Magazine chain. It was worth the visit last year just to meet you Bluejay.

I use three of these about £235 but + is you can use them as a PA and for rehearsals they are 12 " and 350 W [attachment=179713:Alto back.jpg] [attachment=179714:Alto front.jpg]

No Change on the Bass front still as listed below. but I have for the first time been actively trying different strings on different basses, and I believe now that a particular bass and neck construction calls for a particular string tension to work in harmony with, pickup and string material SS or nickle may also play a part here. My M Bass is totaly transformed with Status half wounds. My Shuker loves GHS nickles. So I have learned, its what your bass likes not what you think you like.

I don't feel enough major bass brands have signed up to drag me there this year. So last minute yes or no for me. If they can't be bothered why should I.

From your example if you had a 1 x 12 cab with an Xmax of 1mm and you had a 4 x 12 cab with an xmax of 1mm on each cone, would it be the same. Yes your limitation are the same before distorting, but you would only need to drive the 4 x 12 cab 25% as hard to get the same displacement. so hopefully you will not distort it I am always worried reading about the love for the latest 1 x 12 cab and that people reading the reviews are thinking a particular 1 x12 will cover every need. Horses for courses. I have owned powerfull 4 x12 cabs in the past when i played larger venues but I dont need those sound pressure levels now. e.g. I also use an EA m-line with with a 500watt amp, but know its limitations its just for jazz so this 200 watt speaker with a small xmax will probably not see 30 < 50 watts on my gigs. I know i could damage it on a rock gig with that amp so I would take my 700watt 2 x12 and doubt if i put more than 200 watts through it.

He's avin a laugh Eric's been on the Pino

Don't feel too sorry for them Tim, As someone who started out on Trombone in function bands, brass sections only play stabs most of the time they spend the majority of the gig looking at the women. My main hurdle swapping to bass was I had to play every note start to finish. It was bl***dy hard work relentless concentration. No excuse if the argument here is we should learn it off pat then brass sections have no excuse.

Like many here, I love nothing more than to see how far one can push a thread as soon as different opinions start to emerge, but all very tongue in cheek. Just good to have a laugh together. I Hope no one ever takes my comments seriously. If I have upset anybody - my drummer will see you outside

Would I be perceived as a more successful musician if am seen with a £120 RAT stand as opposed to my poorer cousin who spends just £30 on a metal stand. Only reading musicians need reply

These Irish pub bands have all the best beer and gadgets

If you don't use music stands where are people going to put that lost ear ring, or the note telling you that the owner of the blue Ford has left the lights on, post Requests and notes for when the buffet is ready. A music stand is the perfect solution to stop the old practice of the organiser wanting to hold a conversation with the person singing or insisting on handing things to those that are playing an instrument.

I had to adjust the nut on my Status in the same way but that is the beauty of basses with a zero frets as you aren't going to mess with your bass action. so take care as you do not need depth. If you go deeper you could mess up your open notes so take care just to widen the shoulders of each slot. Also +1 for Status black nylon but they are faily low tension so would recomend the heavier gauge.

i've been there - Trombone in brass bands on treble then I had lessons from a salvation army guy who said i need to read bass clef. so learnt to do that a fresh not transposing I think that is the key, Tenor clef was ok the usual trick knock off 2 flats and play naturals sharp I think that was it. Then there was Alto clef lets not go there. So my Trombone playing got me thinking in different camps and with bass it was applying one of those to a new instrument. So as said above just keep doing everything in bass clef for as many hours as time allows.

Found this while looking for something else, as you do. thought you guys may be interested http://youtu.be/15YyGPSF4Vs